CINEMATIC SPORT beautiful game
the HDC-F5500 system camera for its native integration into live production workflows and inherited all the operational functions assisting cameramen, shaders, and all operators in performing quick and precise operations. Thanks to its sensitivity, the HDC-F5500 can be used either as a ‘regular’ camera with a long depth of field, or a cinematic-look camera with a shallow depth of field. “We’re also seeing our newest
ILME-FR7 PTZ camera becoming a de-facto standard for many applications, for commentary, studio and interview positions, on or off the pitch, as well as for some unique new angles that the PTZ form factor, the interchangeable lens options, and operational convenience offers.” “Using cinematic cameras has
allowed Gravity Media to create content during the most key live- action capture moments, producing the motion before and after the match, including players walking on and off the court/pitch,” says Pete Newton, Executive Director – Media Services & Facilities, at Gravity Media. “This allows viewers to be fully immersed in the sporting action, making sure not a moment gets missed.” Edward Tischler, Gravity Media
MD, adds that such innovative capture techniques have been seen at the US Open, Billie Jean King Cup or Australian Open, “to create that exciting, edge-of-seat, live tournament feeling”.
Artistic touchdown The cinematic look will be familiar
to fans of the NFL, often seen during celebration coverage after touchdowns or pre-match/post- match shots. It was this sort of coverage that
first brought cinematic cameras to the attention of Buzz 16 MD Duncan East, when he was Director of Creative Output at Sky Sports. East tasked his directors to explore ways of using it to enhance football coverage, and Sky trialled cinematic cameras with a live OB workflow on EFL and Premier League games. “The actual shots in isolation
[were] sensational,” East says. “They added a real level of quality and ‘stardust’ to the right pictures, The cinematic shots were so good that they actually made the rest of the OB look at a lower level. The difficulty came in integrating it into a full, live outside broadcast. Where that’s the only camera that looks like it does, how well can you cut that into a sequence?” Just because something is different
shouldn’t stop you from doing it, notes East. “But if it makes the coverage jar, then you’re not doing your job,” he adds. “It should seamlessly blend into
the coverage. Because it looks great in isolation does not mean it works as part of a full broadcast.” Sky decided not to go further with
those trials, based mainly on overall value to the game coverage. “When you’re actually filming live sport, depth of field isn’t really something you look for; you need to show the whole picture,” says East. “There’s a lot going on in the background of certain shots and in the frame of the cameras that are really important.” However, East is keen to stress that
the cinematic look does have its place around the rest of the match. “I’d use it for the teams-out shots,
to get that on-the-ground feeling with really high-end visuals as they enter the stadium, and then the post- match shots and the players coming off the pitch and then also in the presentation,” he says. “I think one of the best examples where I’ve seen it used is the Canelo [Cinco de Mayo Themed Ring Walk] on DAZN. That
Winter 2022
televisual.com 37 “It should
seamlessly blend into the coverage. Because it looks great in isolation does not mean it
works as part of a full broadcast”
DUNCAN EAST BUZZ 16
LIVE SPORT
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